The entry of the French into Venice and the theft of the Horses of San Marco, in Floreal Antoine Charles Horace Vernet (1758-1836)

The composition presents a vast public space dominated by monumental architecture. A large basilica with five distinct domes rises centrally, its facade articulated by rows of arches and punctuated by crosses atop each dome. To the left, a tall campanile punctuates the skyline, while buildings line the periphery, creating a sense of enclosure within this expansive area.
The foreground is densely populated with figures engaged in various activities. A procession moves towards the viewer, comprised of individuals on horseback and in carriages, interspersed with pedestrians dressed in elaborate attire. Soldiers are prominently featured, their uniforms suggesting an occupying force. Scattered throughout the scene are onlookers – some appear to be observing the event with a degree of formality, while others seem more relaxed or even disengaged.
A significant detail draws attention: several figures are actively involved in dismantling what appears to be a large equestrian sculpture from atop a building. The removal process is depicted with considerable detail, highlighting the deliberate act of appropriation. This action serves as a focal point, disrupting the otherwise formal arrangement of the procession and drawing the eye towards the symbolic theft occurring within the scene.
The color palette is muted, dominated by earth tones – browns, grays, and ochres – which contribute to an atmosphere of solemnity and perhaps even oppression. The light source appears diffused, casting soft shadows that flatten the perspective and emphasize the scale of the architecture and the multitude of figures present.
Subtly embedded within this depiction is a narrative of conquest and cultural appropriation. The presence of soldiers, the formal procession, and the deliberate removal of the sculptures all suggest an imposition of power and control over a previously autonomous space. The contrast between the grandeur of the basilica and the activity surrounding it underscores the disruption of established order and the assertion of foreign dominance. The painting seems to be documenting a moment of transition – a shift in authority marked by both spectacle and theft.